1952 Theatre Catalog, 10th Edition, Page 47 (13)

1952 Theatre Catalog, 10th Edition, Page 47

EUROPE
BrHain

In Britain, progress in theatre development necessarily has been in the direction of remodeling rather than new
construction. Few new theatres have
been built in the country since the hey
day of the cinema palace development
of the late 1930s, yet since that time
annual theatre attendance has increased
from 917,000,000 to 1,396,000,000. Fortunately, there were comparatively few
theatres demolished or put out of operation during the war years. One of the
war casualties was the Odeon, in southeast London.

The Odeon was one of the last theatres in the Odeon Circuit to be constructed before the war. Opened in
October 1938, it was put out of action
in June 1944 by a flying bomb. Since
then the authorities permitted repairs of
a protective nature, and also, in order
to help maintain the skilled craftsmanship of decorative plaster work, allowed
a small measure of interior decoration
to be done. Finally, licenses were granted
for the work necessary to the reopening
of the theatre to the public.

The work was carried out under the
supervision of architect George Coles,
designer of the original building. Now
fully refurbished, the 1,729-seater has
a completely new decorative treatment,
new fiooring, and new equipment.

Another major remodeling project
recently was completed at the Gaumont,
formerly the Kings Cross, in the
Greater London area. In May, 1949, it
became apparent that extensive structural alterations would be needed, and the theatre was shuttered. Unfortunately, the economic difficulties of the
country prohibited an immediate start
on the work, and it was only after pro' tracted negotiations that permission was
given for the essential part of the proposed scheme to be undertaken so that the cinema could be reopened. The permitted reconstruction plan involved
strengthening the shell of the building,
the fitting of a new roof, and complete
reconstruction of the auditorium. In
redesigning the proscenium a stage was
introduced, thus enabling the position
of the screen to be changed to improve
sight lines from all parts of the auditorium. In addition, it allowed the redesigning of the front exit plan. The
auditorium side walls are stepped, and the main ceiling is curved upward, this
effect accentuating the proscenium surround, which is formed by vertical ribs
of fibrous plaster, enclosing a coved
arch, and making the screen appear as
though it is mounted in a deep picture
frame. New booth equipment and 1,400
new chairs were installed.

Other extensive modernization projects were carried out within the past
year at the Tivoli, Blackpool; Century,
near London; Ritz, Crayford; Savoy,
Swaythling and Palladium, Portsmouth,
both owned by Palladium, Ltd.; Gaumont, Grimsby; New Palace, Bristol,
and the Astoria, Glasgow.

The country's first new theatre since
1939, still under cnostruction at this
Writing, will be the Odeon, Jersey. It
will have a seating capacity of 1,359.
Provision is being made for a licensed
bar, and the prospects for the inclusion

1952 THEATRE CATALOG

IN SPAIN. the lTOU-seai Fraga. in Vigo, is situated in a building that also houses a ballroom, tea-room.
cafe, and exhibition hall. It is one of more than 400 new theatres constructed in Spain.

of large-screen television are being considered in the architects plans. Although
Ministry of Works licenses are not necessary for this construction, the difiiculty
of obtaining materials has been an
obstacle.

Construction was begun this year on
Britainls first drive-in theatre, a 250car ozoner being built in Worthing for
musician-composer George Posford, and
slated to open this summer.

While the progress of the theatre industry in Britain during the years since
the war has been of a gradual, plodding
nature, owing to the need for strict
economy and the difficulty in obtaining
permits for any type of construction
work, there has been a commendable
degree of advancement under the circumstances, and the British industry is
striving with all the resources it can
muster to keep abreast of the latest
developments in equipment, decoration,
and furnishings.

France

Depressed economic conditions in
France, also, have made the construction of new theatres almost impossible,
but despite conditions French theatremen have been able to modernize most
of their houses within the past three
years. Replacement of outmoded projection and sound equipment is most
noticeable in most of the main theatres
of the country, and this realization of the need of keeping abreast of the times
has been a major factor in restoring
grosses to the healthiest level in several
years.

Playing a key role in Francels theatre
modernization program are Adrienne
Gorska and Pierre de Montaut, the
countryis best-known architects specializing in cinema construction and decoration. They have completed, built or dece
orated some 55 theatres, and have
designed about 200. Their plans have
been bought by several countries, and they have built theatres in Belgium,
Holland, and Poland, as well as France.

Among the impressive modernization
projects they have planned in the past
year are the facelifting of the Lynx, a
plush Paris house, and the Regent, a
smaller but equally attractive spot in a
Paris suburb.

Permanent 35mm. theatres in France
currently number an estimated 5,362,
and 16mm. houses total about 5,380.

Spain

In Spain, construction of new theatres
continued at a brisk pace during the
year, and new showcases were being
built in rural areas which never before
had theatres, as well as in the metropolitan centers. While Spain had an
estimated 3,583 theatres in 1950, it now
has more than 4,000.

Certainly the most lavish of the countryis new theatres is the Fraga in Vigo,
operated by Isaac Fraga, head of 3 Circuit comprising 26 theatres in Madrid,
Asturias, and Galicia. Designed by architect Luis Gutierrez, the Fraga is housed
in one of the best buildings ever erected
in Spain for public entertainment purposes. The building embodies, in addition to the theatre, a ballroom, tea room,
cafe, cocktail bar, an exhibition hall,
which opens on the lobbies of the theatre, permitting show patrons to visit
the exhibitions at intermissions; a large.
salon, which has not yet been allotted
to any specific use; and the owners
private apartment, two fioors on the top
of the building, and including a magnificent art gallery and a large terrace.

The building is of reinforced concrete,
with front walls of granite, and due
to a huge entrance porch, the general
aspect of the structure is monumental.
The porch is convenient for posting
publicity material, since the theatre has
no conventional marquee, and affords
protection from rain, which is very
frequent in Vigo.

The entrance lobby, bar, and staircases to the mezzanine have mahoganypaneled walls and marble paved floors.
The partition between the lobby and the